   Tell us about your filmmaking journey so far. I became obsessed with film pretty early on. The first film I saw in a cinema was Star Wars, so that was a hell of an introduction. From then on I just became determined to see as many movies as I possibly could. I just wanted to devour them. It didn’t matter how or where: the cinema, the drive-in, on VHS or late at night on TV, I just watched anything. I was lucky enough to have my childhood coincide perfectly with the advent of VHS and that whole glorious “summer of 1982” when you had Conan and Star Trek II and The Thing and E.T. and all these amazing movies all come out at once, so that was where it all started for me. And alongside all those new blockbusters, I was also watching tons of classic movies that my Dad was ferreting out at the video shops and bringing home to show me. Some of my fondest childhood memories involve my Dad and I sitting down to watch stuff likeThe Taking of Pelham 123 or The African Queen together. He kind of curated my childhood movie diet and he did a great job because he has great taste. And when Dad wasn’t around I was watching dodgier genre-type stuff like The Land that Time Forgot and The X From Outer Space. So from early on, I knew I wanted to make movies. But going through high school in the ’80s and ’90s in regional New South Wales, there was absolutely no film class, there were no other kids interested in making films, and I had no access to any kind of film production gear, so I decided to turn my hand to writing and try to get into filmmaking that way. I wrote some feature-length scripts and sent them off to various producers, but never made any inroads, which was probably because I was mostly writing Jerry Bruckheimer-style actioners that would’ve cost a fortune to make. Plus they weren’t really the kinds of films we make in Australia anyway, and they still aren’t. Then, in 1998, inspired by Robert Rodriguez’s DIY attitude, I decided to do a one-year TAFE course to learn the technical skills I needed to empower myself, so I wouldn’t have to sit around waiting for someone in an office to say, “Yes.” I came out of that year with three short films and a TV commercial under my belt plus a number of awards for my work. I wrote some low-budget feature scripts and tried to use the success of my shorts to get them up and running, but I couldn’t get arrested, so I decided to make a cheap and cheerful Mini DV feature with my own money. The result was Scratched, a comedy-drama I shot for about $3,000 doing all the main jobs myself: camera, sound, editing etc. Scratched screened in Brisbane and also at the Melbourne Underground Film Festival but couldn’t find a distributor, so it just kind of faded to black. Around that time, the Spierig brothers were enjoying enormous success with Undead. I saw what they were doing and thought: “I’ve got to make another low-budget feature, but make it a genre film this time, because genre films have a better chance of selling.” So that’s what I did. That’s how Throwback was born. Now it’s all done and dusted and being released around the world, and I’ve just made a short film called Little Nippers as a fun project between features and it’s starting to do well too. What can you tell us about your film and the overall production? Throwback came about because I really wanted to make a monster movie but it had to be one I could do on a shoestring budget, because all I really had to work with was my credit card (Sadly all my attempts to obtain funding from the government screen funding bodies over the years have failed, despite my best efforts and multiple applications). I nostalgically looked back to several 1970s Bigfoot movies that had scared me as a kid on VHS, like Creature from Black Lake and The Legend of Boggy Creek, and I had a light-bulb moment about how cool it would be to fuse the style and sensibility of those old movies with a modern monster/survival story that revolved around the Yowie, Australia’s Bigfoot. At the time I started the project, nobody had made a feature film about the Yowie, so I got a furry costume and some volunteer actors and shot the film on weekends all around Cairns between 2010 and 2013. In 2012, Vernon Wells saw the teaser trailer, liked it and put his hand up to play Detective McNab in the film, and he came to Cairns for one day to do his scenes while he was in Australia shooting a travel series. We had a great time working together and now we’re prepping my next feature together, the sci-fi/horror thriller Starspawn.
Is this your first time at MUFF and what does the festival mean to you? This is my first time attending MUFF but it won’t be the first time one of my films has been selected. In 2005 my debut feature Scratched played at the festival. I wasn’t able to attend but I heard afterwards that it was well-received. I think festivals like MUFF are important because they showcase films that wouldn’t normally get a look-in with the big, prestigious fests. There seems to be a certain amount of snobbery with some of the big “blue chip” festivals, and MUFF was obviously borne out of Richard’s frustration with that snobbery. I think those fests have their place, and obviously, there’s an audience for art-house films and whatnot, but the so-called “low art” that screens at MUFF also has an audience and deserves to be seen and celebrated, and I’m looking forward to doing just that with some like-minded people.  What's next for the film in terms of festivals and potential releases? After nearly two years, Throwback has pretty much finished its festival run, so from here on in, it’s just going to continue to be rolled out on DVD, Blu-ray and VOD around the world thanks to the gang at Monster Pictures. The next major release is a Blu-ray for Germany in October. They’re calling it Das Biest Lebt! over there (“The Beast is Alive”). Throwback came out in the US in July but the release was botched because the US distributor unwittingly released a faulty disc which skips through key scenes in the film, cutting almost all of Vernon Wells’ character out! They’re in the process of recalling that release and they’ll be re-issuing it in September. I’ve heard that it’s also slated for release in China and South Korea later in the year, with other countries to follow, so it’s been a very well-travelled little movie.  Do you have any other projects in the pipeline? I’m currently in pre-production on my new feature film Starspawn. It’s a sci-fi/horror thriller inspired by the films of John Carpenter and the works of horror author H.P. Lovecraft. It’s about a TV current affairs journalist who stumbles upon evidence that ancient aliens who once ruled the earth may be planning to return and reclaim it. The film will have some CG in terms of greenscreen work and so forth, but we want our actual aliens to be 100% practical. My team and I successfully raised $30,000 on Kickstarter in July to get us underway, so now we’re using that money to finance a proof-of-concept short that will showcase the project’s visual style and effects. The short will be a little prequel to the main feature that will stand alone as a self-contained film in its own right. We’ll submit it to festivals, screen it at conventions, and show it to potential investors, in the hope that they might put up the finance required for the full feature. So it’s a multi-stage process, and the plan is to have a finished feature done and released by about 2018 at the latest. In the meantime, we hope to shoot the proof-of-concept short by Christmas and with any luck start filming the feature around July/August 2016. Vernon Wells is on standby to fly out to Australia to film his scenes when everything’s ready to go, and we’ve also got a couple of other name actors circling the project, so fingers crossed it all falls into place over the next 6-12 months. My dream is to keep making features, but I’m also really interested in getting into TV drama now that it’s now basically reached the same level of quality as cinema. I grew up watching great mini-series back in the ’80s and I’d like to try my hand at making some of those, as well as some ongoing drama shows. I’m going to have a crack at writing a pilot soon for a post-apocalyptic series. It’s ambitious, but it’s something that my team and I could shoot on a low budget here in Cairns, shop around to broadcasters, and see if it can get picked up for full series. But that’s a sideline project right now. It’s all hands on deck for Starspawn. Travis will be hosting a free MUFF Academy class on Sept 12 @ 2PM at Hogan Gallery. THROWBACK SCREENS LATER THAN NIGHT AT THE BACKLOT with live Q&A. Click here for more info and to purchase tickets.
0 Comments
 
What was the 'ah-ha' moment that lead you to film-making? I guess it was when I was 13 and my parents bought me a video camera with a porter pack. I think their idea was that I could “video” all the family events like weddings and parties for them. I kind of did that, but I then one day I started filming my Doberman Pinscher trying to have sex with my Mum’s cat. The poor dog was so eager to lose his virginity, while the cat couldn’t have been less interested. I then dubbed my voice over the footage playing both the dog and the cat. The end result was like a filthy hilarious live action version of Pepe Le Pew. I made a copy and showed it to the kids at school, who made copies etc. It eventually became one of those secret videos that people lend to each other at parties and pubs. A few years later my cousin in Adelaide told me about this hilarious video he’d seen with a Doberman and a Manx. I think that may have been the ‘ah-ha’ moment, even if I didn’t realise it at the time. I went to Drama school and studied to be an actor.  What can you tell us about your film and the overall production? The initial idea for SIZZLER ’77 came from the two lead actors, Terry Yeboah and Alan King. We were working on another film of mine, where they both play cops on the case of capturing two homeless punk bandits who commit bizarre crimes. Their characters were minor in this film, but while we were shooting their scenes it became apparent that they had terrific chemistry together. They jokingly said that I should write a spin off movie for them. I wasn’t really sold on the idea of a cop buddy movie as there are millions of them, but I told them I would come up something and would call them for a reading in two months. I was having trouble at first, but when the light bulb went off and I decided to set the film in 1977, it all just came pouring out. We had a reading with the four principal cast members that summer. It sounded good, our enthusiasm was high so we all decided to pull in our resources and time to make it happen. I then spent a good twelve months refining the script, taking time in casting the roles and searching for authentic sets, props and costumes from the era. In the process I became addicted to Op Shops, Savers stores and trash and treasure markets. About 14 months after our initial reading, we had our first shoot. I would edit the film at nights, whilst shooting was going along during the day. Overall I think there was about 9 different days of shooting with several different locations. What was your greatest blunder on set? What invaluable lesson did you take away from it? There is a gang rape scene in the story. This particular scene required a large number of cast on location. The only time that everybody was available was between the hours of 10am to midday on a Sunday. It also happened to be Mother’s Day. I say this is a blunder because I just wished we had more time to shoot such an intense and emotionally charged scene. Sometimes when working with tight time constraints, it’s the little things that can be often forgotten. And little things can make a big difference. What was your greatest triumph on set? When you are working on a film and everybody on set is constantly smiling and laughing while still doing fine work, to me is a great triumph. What can audiences expect from the film and how do you think they will react? Expect to be taken back to Melbourne in 1977. It was a pretty exciting time to be alive apparently. Australia had not long had colour TV so everything was incredibly bright and dazzling. The world seemed to change in 1977. Donna Summer released “I Feel Love” which changed music forever; Lucas released “Star Wars” which sadly changed film forever. I did the best to my ability to recreate the era from the art direction to costume design to the visual style and to linguistics of the screenplay. So expect to have a nostalgic look back to a year when the Queen celebrated her Silver Jubilee and The King, Elvis Presley died. SIZZLER ’77 is primarily a black comedy, so I hope any audience relates to the humour and to the journey of all the characters. Is this your first time at MUFF and what does the festival mean to you? I think MUFF is an excellent celebration and platform for filmmakers and artists. I went to the Opening Night about two years ago and really enjoyed meeting and chatting with all different of filmmakers and actors. I think it’s healthy that a fraternity like this has an avenue to showcase their work to positive film buffs and audiences alike. What's next for the film in terms of festivals and potential releases? There are plans for a commercial release of SIZZLER ’77 in the short future. Do you have any other projects in the pipeline? Can you tell us a little about them? My intention was that SIZZLER' 77 would be the final film project. I am getting tired. However, I ended up enjoying it so much that since then I have penned a second film, titled THROBBIN’ 84. If I can get the cast right, I would like to start shooting it for a release next summer. I have a number of feature film length screenplays sitting around. If I ever get the opportunity to work with the right people, they might happen. SIZZLER '77 IS THE CLOSING FILM OF THE FESTIVAL AT HOWLER. SEPT 19 (9PM). CLICK HERE FOR MORE INFO AND TO PURCHASE TICKETS. 
Tell us about your filmmaking journey so far.
I've been a filmmaker for many years and have worked on educational documentaries, lifestyle films, short dramas and a short feature film as co-writer. My producer Jonathan Roper and myself undertook I Am Evangeline to get ourselves into the feature film 'pool' as it were - we knew it was an unusual cross-genre work and we wanted the freedom from funding bodies and distributors in order to make the film we wanted to make. What can you tell us about your film and the overall production? The film was shot with a small crew over four weeks. I wrote the script over two years approximately, then we had to find the right time in our schedules to shoot it. The crew was a mix of highly experienced professionals and people just starting out and learning their trade. It was fast, and somewhat terrifying! We then spent a long time in post production getting it to the place where we were happy with it. 
Photography by Jason Lau.
What can audiences expect from the film and how do you think they will react? The film is an unusual journey - it's intimate science fiction with a twisted love story thrown in. It's a slow build with loads of intrigue and mystery and some very strange and dark characters along the way. I hope the audience will love it! Is this your first time at MUFF and what does the festival mean to you? It is our first time at MUFF and we are thrilled to be involved. I guess I didn't necessarily see I am Evangeline as an underground film, but it's not surprising considering the type of work that I love. I think the great thing about MUFF is that audiences will expect the unusual and that's perfect for us. What's next for the film in terms of festivals and potential releases? We are currently sending our film around the world and hoping to get into some other festivals. And yes, we have a couple of other films in the pipeline - or in development hell as they call it. I AM EVANGELINE SCREENS AT HOWLER, WEDNESDAY SEPT 16 (9PM) CLICK HERE FOR MORE INFO AND TO PURCHASE TICKETS. VISIT THE OFFICIAL I AM EVANGELINE WEBSITE VISIT CHRISTINE'S PERSONAL WEBSITE.    FAKE SHEMP: You've never been on a film-set until you started North Circular Road. Tell us about your film making journey so far. DONAL: North Circular Road was my first step into film making and where better to begin than right in the deep end! I work as a writer primarily and a few years back I recall interviewing a very successful businessman who said something that really struck a chord with me – never be afraid to surround yourself with smart people. That was the philosophy I took with making the film and I think it worked. I was surrounded by talented people who knew what they were doing and with their support directing fell into the realm of the possible. My goal throughout was to tell the story of the script and to bring out the best in the actors – so I was able to concentrate on that. There’s a huge amount you learn as you progress of course but, if you don’t get to apply it on the current project, you store it up for the next film. In some ways, I think that’s the motivation to go forward. What was the 'ah-ha' moment that lead you to film-making? Lots of people are drawn to film making and for various reasons. For me, it was very much the feeling that there was a particular kind of story I wanted to tell and a way I wanted to approach things. When I saw that the technology made that possible, and I had found people I could work with to bring the vision to life, I knew it was time to get moving.  What can you tell us about your film and the overall production? It was an extremely tight schedule for a feature film – about 18 days over all, so it’s a credit to the production team and the actors that we achieved so much in that time. We filmed most of it with a Canon 5D – a fact which impresses people who admire the rich quality of the film. We had, first and foremost, a talented cinematographer in Stephen C Walsh – and it was his first feature film. We also had a great cast who really brought a great deal of nuance and sophistication to their roles – for some it was their first time making a film too. Everyone gave 150% and there was a real sense of collaboration as we moved forward– so I was very lucky. There were a few bumps in the road, as happens in any film but our producers – Kathy Horgan and Michael Parle – dealt with those very well. In every case, something good came out of the problem. What was your greatest blunder on set and what invaluable lesson did you take away from it? I suppose if there’s any problem with coming on set as a novice, it’s that your focus is going to be more limited than someone with more experience. Looking back on the film-making process, I feel I focused on the right things – the actors and building the dynamic of the story. If I was doing it again, I might have experimented more with the actual filming process. Having said that, time was incredibly tight so my instincts were probably right. I’m a great fan of Michael Haneke’s film Amour and I would like to think the cinematography style of North Circular Road has something of that contemplative, gently persistent pace of film making as the story builds. What was your greatest triumph on set? There are a few scenes I’m particularly proud of – the night sequence towards the end where Janice and Matthew argue before confronting the man Janice has been looking for – it’s just got a great balance of comedy and pathos. There’s a wonderful scene where the ‘ghosts’, Peter and Eileen argue as she is trying to get away from him, and you get a sense of the hold he has over all. There’s also one very simple scene that I really love, where Janice sees Peter in the hallway just after she says goodbye to a friend. She follows him up the stairs with a mixture of curiosity and dread. There’s something wonderfully balanced and poetic in how they move and relate to each other, and the atmosphere that the film exudes at that point. I’d love to take credit for it but, of course, I have to hand most of it to the cast and crew! 
Is this your first time at MUFF and what does the festival mean to you? It is my first time and I’m really proud to follow in the footsteps of some great Irish directors including Terry McMahon and Ivan Kavanagh, who have been warmly supported by MUFF in recent years. It’s a superb festival and a great showcase for innovation and the new talent emerging around the globe. I’ve always admired the spirit of Australian film making – there’s a willingness to take chances and experiment alongside a commitment to tell stories that have real authenticity.
Do you have any other projects in the pipeline? Can you tell us a little about them? I think it’s quite important to experiment in your film making and do things that surprise people. I’m currently working on a sports documentary that will throw some fresh light on what might appear a familiar topic to many. Believe me when I say I’m the least likely person ever to make a documentary about sport, so it’s fun to do something that challenges you. A brief synopsis of North Circular Road? A young couple drives a hard bargain for the house they’ve fallen in love with. Janice is a popular weather forecaster who sees the new home as a fresh start. Her husband Matthew is setting his own ambitions aside to put his wife’s happiness first. But every house has its secrets and Janice soon discovers hers are bigger than most, when the ghosts of a couple who once lived in the house start to appear before her. She soon becomes completely distracted by what she sees and a shocking story unfolds before her eyes as the ghostly visions become more and more vivid. She is compelled to research the history of the house and begins to put the pieces of a dark crime together. However, she has to terms with the ghosts of her own past if she is to solve the mystery of North Circular Road. ARTICLE BY SHAUN CRAWFORD. NORTH CIRCULAR ROAD SCREENS AT HOWLER, WEDNESDAY SEPT 16 (5PM). CLICK HERE FOR MORE INTO AND TO PURCHASE TICKETS. Visit the official NORTH CIRCULAR ROAD website.  
This special edition episode of the FAKESHEMP.NET PODCAST explores the ins & outs of the Melbourne Underground Film Festival's 2015 programme and line-up of films and events. Follow FakeShemp.Net over the coming week's as we dive head-first into the festival with a series of interviews, articles, blogs, videos and more. A video version of this discussion will also be found on our website, Facebook page and Youtube channel.
 2015 marks the 16th year for the MELBOURNE UNDERGROUND FILM FESTIVAL and having followed it for many years it goes without saying that we are insanely proud to be media partners. In addition to hosting our very own night we will also be covering various aspects of the festival with a running multimedia push that will feature articles, interviews, videos and more.  TICKETS ON SALE NOW. VISIT OUR FACEBOOK EVENT GROUP FOR MORE INFO. The purpose of the festival was never to buck the system, but rather challenge it. With the county's biggest film festival (MIFF) focusing its energies on high profile films and favouring "notable" international filmmakers there was an ever-growing pool of local talent with next to no chance of contention. When Melbourne filmmaker Richard Wolstencroft was denied a spot on the festival's line-up he recognised the need for a new focus. The first and foremost distinction would be to support the low budget film makers of Australia who deserve the recognition and a chance to showcase their films to an audience. The second point of order was to extend the same acknowledgement to indie filmmakers abroad. And so it was born - THE MELBOURNE INTERNATIONAL FILM FESTIVAL! MUFF was one of the first underground film festivals in the world and since its inception in 2000 has unearthed notable filmmakers (such as James Wan, Patrick Hughes, The Spierig Brothers, Greg McLean and Stuart Simpson amongst others) and inspired many festivals around the world. 2015 is proving to be one of the strongest line-ups yet with a program boasting some truly original, creative and confronting films. This year introduces the "MUFF Academy", a FREE film school running over two days with notable filmmakers hosting classes on everything from funding to releasing and everything else in between.... if you're a micro-budget filmmaker then you need to get along because the words of wisdom being imported will be truly invaluable. So keep up with us here at FAKESHEMP.NET as we lead into the festival with a series of updates, stories, interviews, teasers and more. If you don't follow us on social media then hop to it. We encourage you to join the discussion and share your own thoughts on this year's program and everything else that the festival has to offer. IT'S MUFF - DIVE RIGHT IN.  CLICK THE FESTIVAL SCHEDULE TO DOWNLOAD THE FULL CATALOGUE & PROGRAM. |
